His declaration to Emma in the final scene, at the start of their love story, is one of the most searing Pinter monologues — ecstatic in its expression of romantic feeling and yet desolate in the awareness that Emma is condemning Jerry to a kind of exquisite misery. With subsequent productions and a first-rate film in 1983 — featuring Jeremy Irons, Ben Kingsley and Patricia Hodge — earlier naysayers began to perceive a creeping depth and delicacy in the work, which for me now ranks among Pinter’s finest. Unlike Roy Scheider in the first Broadway production of “Betrayal” (1980), or Daniel Craig in the last Broadway revival (2013) or even Ben Kingsley in the movie version (1983), Hiddleston’s Robert does not pull a Liz-size tantrum to punish his unfaithful spouse, Emma (Zawe Ashton, “Velvet Buzzsaw”), who is Jerry’s longtime paramour. SoundCloud. But designer Soutra Gilmour’s set is a simple, stark rear wall in slate gray that makes intimate advances on the actors at times, with a sparingly used turntable that suggests the unkind passing of time, even as the scenes play out in backwards order. What you are witnessing is the conclusive collapse of a marriage’s fragile and necessary structure of illusions. Throughout the show, the full complexity of their relationships comes to light.
And I’ve seen productions in which Emma, as the only female onstage, emerges as a crushable odd-woman out in a boy’s club society. Betrayal opened on Broadway on August 14, 2019 at the Bernard B. Jacobs Theatre at 242 West 45 th Street. I had heard good things about this “Betrayal” when it debuted in London earlier this year, but I didn’t expect it to be one of those rare shows I seem destined to think about forever.
This is pure Pinter. The headline news is the commanding Broadway debut of Tom Hiddleston, taking a breather from the Marvel Cinematic Universe to revisit the stage roots to which he has returned periodically throughout his career. Soutra Gilmour’s set consists of a table and chairs, two turntables, and a back wall that, when the atmosphere turns claustrophobic, pushes the actors down stage almost into the audience’s lap. Pinter burns away exposition to reveal the alarming mystery of human relations and the way communication is used to conceal the truth from those with the power to inflict the most pain. (He has also taken the liberty of introducing a fifth, silent character, in addition to the Italian waiter, played with gusto by Eddie Arnold, who appears in the original text.). Is your network connection unstable or browser outdated? Yes, it’s a story about rule-breaking, but it is also about people who have been conditioned to keep their dalliances under wraps.
Read news on over 150 Broadway and Off-Broadway shows. Stream Betrayal On Broadway Travels by GMChannel Show from desktop or your mobile device. But if Broadway is more your thing, you’re also in luck! She’s looking for something she misplaced once, or let time carry off, but you know she can’t put her finger on what it is. Please download one of our supported browsers. It’s telling that in this production she is the only major character who doesn’t wear a jacket or, more surprisingly, shoes. In those scenes where their respective characters aren’t supposed to be in the same room, Cox and Hiddleston remain on stage standing or sitting against that back wall. This means the focus is unflinchingly on how these friends and lovers behave, and on the distance between them (wonderfully underscored by a slyly, slowly moving stage). As for all that brittle, passion-concealing wit and straight-faced deception, wasn’t that the stuff of old-guard West End masters like Coward and Rattigan? Daniel Craig, Rachel Weisz, and Rafe Spall star in Harold Pinter’s Betrayal, directed by ten-time Tony Award-winner Mike Nichols. To borrow an art-world term, her work is “counterfeit.”, Humm’s Betrayal Broadway Opening Night Edit Masterpost, My only negative is that Tom DOES actually weep, and it is f*cking excruciatingly painful to watch, that quote is perfectly placed above him in this. And her deeply sensitive performance elicits a feminist subtext in “Betrayal.”. This “Betrayal” honors Pinter by making his style seem both of his own era and of ours. If Lloyd’s direction is to establish Emma as a seductress, Ashton doesn’t make a very convincing one. Nor do the cast members ever change their clothes. But this very fine production makes an absolutely compelling case for returning so quickly to the play, in which betrayals cut in every direction — between couples, friends and within the characters themselves.
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